Literally every time a new Star War comes out, there are a bunch of criticisms that all amount to “they’re still milking Star Wars in 202X.” It’s wild to see racist fuckwads hijack one of the  least interesting discussions in popular culture.

I think you typed “brains” when you meant “bots.” But the answer in either case is “hastily conceived and barely functional.”

What do these online trolls think they are - cops?

Don’t worry, nobody comes away from your posts believing you have thoughts. 

I dunno, “An American Haunting” might need a word with you. My favorite review of that movie said something like “the producers must ha e sold Sissy Spacek and Donald Sutherland on working together before showing them the script.”

“Hollis Hurlbut” is also a great name for a one off character, even by Simpsons standards.

Don’t Look Now is one hell of a movie - I shouted “fuck you” at the screen at the end, and I stand by that sentiment, but I respect the movie for manipulating me so well. 

Can’t believe there’s no love for his greatest movie: Shadow Conspiracy.

He was just glad to be alive. 

People in the 2010s really liked to be annoyed. IIRC “We Are Young” was a few years after “Kids” by MGMT and contemporary with “Radioactive” by Imagine Dragons - the trifecta that ruined the ambience of a million coffee shops. 

I would ordinarily agree that these things are purely subjective and not suited to allegations or proof - but it’s Jack Antonoff. The case is cut and dry. 

The song was written for a movie (Neptune’s Daughter, the topic of this article) where the male and female parts are clearly defined. Calling it gender neutral is divorcing it from historical context, which is a bit ironic since people usually defend the song by evoking some sense of historical context. 

Get Out was very tight but parts of it felt familiar (it didn’t help that I had watched “You’re Next” a few weeks earlier). I loved “Us” because it was genuinely baffling, like a bad dream. And I really loved Nope - it’s full of surprises, but the stuff with Stephen Yeun and the chimp (including his description of a…

I think it was Roger Ebert who said that if we rank movies by how much fun the cast is having, Smokey and the Bandit 2 is much better than Citizen Kane.

Yeah, the cannibalism talk was the attention grabbing part of the real accusation that he was an abusive piece of shit.

It’s a style that works well with a catchy melody, but those are hard. It feels a little humdrum when the big synth is basically propping up a simple beat. Dua Lipa or Billie Eilish pull from 80s pop, but their singles are easy to hum. Antonoff productions not as much.

Depends whether you can prove monotony. Since it’s Jack Antonoff, the answer is a resounding, synth driven, yet weirdly tuneless “yes.”

In the context of 1940s Hollywood, the Production Code prohibited overt sexuality and specifically prohibited unladylike behavior from female protagonists, so the song illustrates how filmmakers used innuendo to represent women as sexually demure and men as sexually demanding. That fits into the larger historical conte…

I tried explaining the idea of airtimes and reruns to my son, nd he just said “this doesn’t make any sense.”

Time changes things. The idea that we can watch eighty year old movies in exactly the spirit they were presented (or that they didn’t have problems in their own time) is silly.